Sonic Screens 2012 - full lineup

 

Electroacoustic music concert 
an event by U.S.O. Project (Matteo Milani, Federico Placidi) in collaboration with O’ and Die Schachtel 

Premieres: 
Agostino Di Scipio
"Two Sound Pieces with Repertoire String Music"
for any number of bowed string instruments and live electronics

Andrea Valle
"Dispacci dal fronte interno"
for Violin, Cello, spatialized electronics and printers

Federico Placidi
"TimeCapsule"
for Violin, Cello and live electronics

Performed by: 
Èdua Amarilla Zádory - Violin
Ana Topalovic - Violoncello

Sound Direction: 
Matteo Milani

Live Sets: 
Thoranna Bjornsdottir aka Trouble
Massimiliano Viel

O’ | via pastrengo 12 Milan | Italy
Saturday, December 1st - from 8:00 to 22:30 p.m. 

Door 5 euro

News: Sonic Screens 2012

U.S.O. Project is happy to announce the selected artists for the 2012 edition of Sonic Screens, which will take place in Milan on November 2012 @ O’.
Here they are:

Andrea Valle
Dispacci dal fronte interno
for Violin and Cello, spatialized electronics and printers 

Agostino Di Scipio
Two Sound Pieces with Repertoire String Music
for any number of bowed string instruments and live electronics

 [photo courtesy of Franz Rosati]

The two works will be performed live by Ana Topalovic & Èdua Amarilla Zádory and will later be released (in the first months of 2013) as a digital download by Synesthesia Recordings.

Introducing: Ana Topalovic & Èdua Amarilla Zádory

U.S.O. Project is pleased to announce its collaboration for Sonic Screens 2012 with Ana Topalovic & Èdua Amarilla Zádory. 

They will be also involved by playing the two selected scores during the evening Concert that will take place in Milan later this November. 

Ana Topalovic 

As an all-around cellist, Ana is an active member of the musical scene, performing as a soloist, chamber and crossover musician. Besides standard cello repertoire Ana’s concert programs also include less known works which she is very fond of promoting as well as her own arrangements and transcriptions for solo cello and other formations. A very important part of her artistic work is the engagement with the modern music. Ana performed throughout Europe, Americas and Asia as a soloist and with various ensembles (Oltenia Filharmonic Orchestra, Vienna String Duo, Trio Incognito, Ensemble Hombroich, Pierrot Lunaire Ensemble Wien, Burst Trio, Vienna Celloduo, Palestra Trio a. o.). She recorded and broadcasted solo works, chamber music and musicals for RBB, ORF, RTS, TVR and TV Metropolis. Ana Topalovic plays on cello made by R. and A. Gagliano in 1815. She lives and teaches in Vienna, Austria.

Èdua Amarilla Zádory

“Édua Amarilla” Zádory, which means „glistening moonrise“ in Hungarian, was born in 1974, in the southern Hungarian town of Kecskemét. Her professional life in Vienna has been marked by numerous concert engagements. Whether performing solos in the Golden Hall of the Wiener Musikverein, serving as lead chair of the Vienna Chamber Orchestra, or playing alongside the other members of her „young“ Hungaria Piano Trio, Édua’s expressive and beautiful music expertly fuses Hungarian soul with the traditional Viennese sound. As of September 2012, Edua holds the status of Guest professor at the All-Quds University college of Music in Jerusalem. Édua Amarilla Zádory plays a masterpiece of a violin dating from 1801 and crafted by Joseph and Antonio Gagliano.

[www.anatopalovic.com]
[www.eduazadory.net]

"Empty Rooms", audio-visual self-organized performance space

(Mixed Media Installation)

Premiered on 29th - 30th October 2010 @ [BOX] Videoart Project Space in Milan, during the Live!iXem Festival 2010 (thanks to VisualContainer)


A Movie made of algorithmically generated "inactive spaces” is projected on a screen.

An overlapped stream of pre-recorded “sound activities” is then diffused from a record player and from 4 different iPods running in shuffle mode, creating recombinant “invisible actions” to fit into the Movie.

A self organizing link between sound and visuals is established via cybernetic procedures defined as interconnected spin networks, produced by a video camera “observing” the movie and by one microphone “listening” to the space placed inside the performance Locus.

The Kyma sound design environment (accelerated by the Pacarana sound computation engine) is then engaged in order to compute the data and perform real-time evaluations between the different types of numerical information (audio-video), producing a “sonorous response” to the asynchronous stream of audio-visual contents.

The synthesized information is then diffused in the performance space again through 4 loudspeakers.

Various types of feedback will take place during this highly dynamic process implying a self regulating behavior that will establish new connections between the pacing of the movie locations and the “sonorous” content produced by the processing of the iPod sound streams.

The Observer will then experience the following layers of information:

- a Real-Time recombinant Movie made of “inactive” locations.

- an Overlapped Stream of “possible actions” diffused by the iPods that fits into the Movie.

- a Sonorous link between the above domains of activities via 4 full range loudspeakers.

The Observer can take into account one or more layers of information (even all of them) in order to create himself a cinematic experience via a correlation process.

More info here:
[Empty_Rooms_eng_booklet.pdf]
[Empty_Rooms_Technical_Rider.pdf]

artists contact: unidentified.sound.object (at) gmail (dot) com
booking: booking (at) usoproject (dot) com
promotion: press (at) usoproject (dot) com

Live!iXem 2010 - Edition VII

International festival of music, mixed media and experimental electronic art

[a project by AntiTesi (Domenico Sciajno) and U.S.O. Project in collaboration with O' and Die Schachtel]

Live!iXem is a well established event that explores the relationship among sound, music, electronic arts and new technologies. iXem is a project conceived and produced since 2003 by AntiTesi, an organization founded and directed by Domenico Sciajno based in Palermo. Center for self-documentation, research and interdisciplinary development for new forms of Arts, Antitesi focuses on contemporary arts in its diverse expressions, coordinates and organizes cultural events, festivals and exhibitions in music and art.

Festival Live!iXem in October 2010 is divided into two events, a 'preview' in Turin on October 8th, organized with Hiroshima Mon Amour, and the main festival in Milan including live performances, installations and  a workshop, organized in conjunction with O' and Die Schachtel.

The field is transverse. The common denominator is not the genre but the experimentation and research to innovation, helping to explore the variety of approaches to aesthetic guidelines, tools and technological solutions adopted by selected international artists and involved in the contemporary music scene.

After the introductory event in Turin, October 8th - with Live! IXem Preview - the festival appointment in Milan will take place in the Isola area, between the spaces of O', Medionauta and VisualContainer on Friday 29th and Saturday 30th October, from morning until late at night, offering a busy schedule of events.

Among these, the workshop 'Movement of acoustic images' - whose theme is the field recording, its transformations and its reproduction in acousmatic space - will consist of three different phases: the first by a technical approach, the second one by listening to environmental sound sources chosen as points of a hypothetical ideal sound map and the third one with 'on-site' recording of sound events.

This year Live!iXem, is also characterized by a partnership with 'Ear to the Earth 2010 - Water and the World', Festival produced by Electronic Music Foundation/Joel Chadabe, which will take place simultaneously in NYC.

PARTNERS: Roland Italy, SMAP (San Marino Audio Project), MIC (Music Information Centre Norway), Sound Corporation

WHERE: O 'via Pastrengo 12; Medionauta via Confalonieri 2; VisualContainer via Confalonieri 11, Milano | Isola Passante Ferroviario/M2 Garibaldi, M3 Zara, tram 2, 4, 7, 31, bus 82, 70, 43

HOW: All events are free except for the workshop (for which there is a fee of 60 euros) - and for the evenings at Medionauta (5 euro membership card).

INFO:

Antitesi www.antitesi.org 

iXem www.ixem.it

Full program here: iXem Press ENG (pdf)

Field Recording Workshop: "Movement of acoustic images"

October 29th, 30th | Milan @ Live!iXem 2010 - Edition VII
International festival of music, mixed media and experimental electronic art

 

Aims of laboratory

• Explore through the knowledge of digital recording techniques the universe sound belonging to the "places";
• Discuss some aspects of the use of specific material in electronic and instrumental composition.

Localization of sound in the environment focuses on the theme "sound mapping" as a social and cultural identity and, at the same time, an expression of conscience and personal feelings, whereas its use in music opens important interdisciplinary horizons.

The workshop's aim is to provide an introduction to theory and practice of the main mobile sound recording techniques and the use of sound sources in different fields, from sound design to cinema, from digital editing to the use of digital sources in instrumental composition, electronic music and live electronics. Music compositions and musical excerpts from field recordings will also be introduced, listened and discussed. All members are invited to participate in the soundwalk along the neighborhood "Isola" in Milan and thus contribute during the workshop to the creation of a small sound map of the place. The pieces obtained at the end of the workshop will be diffused through a multi-channel audio speakers setup and then available to the public in the form of soundscape composition.

Speakers: Alessandro Massobrio (ITA), Fabio Orsi (ITA), Natasha Barrett (ENG)
Curated by Matteo Milani, Federico Placidi (U.S.O. Project) and Domenico Sciajno


Documents available online

[Live_iXem_2010_Workshop_ITA.pdf]
[Live_iXem_2010_Workshop_ENG.pdf]


Costs and subscription

To participate in the workshop you must register (spaces are limited) no later than 23/10/2010 and pay the fee (€ 60.00).

For more information about the workshop and registration, please write to workshop [at] antitesi [dot] org or visit the Facebook and Twitter page.

Payment methods

• PayPal
• Money transfer

Level

All subjects and activities of the workshop/laboratory are addressed at the introductory and preliminary level, combining theory and practice with some helpful audiovisual material. Members are encouraged to get involved actively, having discussion and bringing in their experience. Participants will be guided, if weather conditions permit, in a short sound-geo path through the "Isola" neighborhood in Milan and invited to contribute to the creation of a work of the soundwalk. It does not require any special technical knowledge and/or music. However, the knowledge of digital audio recording/editing basics can be an advantage.

Recipients

The workshop is devoted for those sound designers, musicians, composers, sound engineers and experts who would consolidate and compare their experience in an environment of exchange and sharing, to all the "listening lovers" and those who have interest and curiosity about soundscape and electronic compositions.

Entry requirements

There are no special requirements. The workshop is open to all without any age limit. Entries remain open until all available seats have been booked.

Devices

• Mac/PC laptop (useful but not essential during the editing and sound processing sessions)
• owners of a portable recorder are asked to take it for the soundwalk in the neighborhood "Isola"
• Roland Italy will provide participants two digital recorders - R-09HR and R-05

www.roland.it

Location

The workshop will be held at:

O' | residences | photography | sound | performance
non-profit association | via Pastrengo 12, 20159 Milan (Italy)
tel +39 02 6682 3357
website: www.o-artoteca.org

O 'is a non profit organization for the promotion of artistic research, founded in May 2001 by Sara Serighelli and Angelo Colombo as O'artoteca (O' since 2008). Its activity is divided into a large exhibition space, an area of consultation and archive, and an outside lab, L.A.B.-LaboratorioArtibovisa for the production related to photography and printing. It developes exhibition projects and discussions, performances, concerts, lectures, publications; it's a place where artists can experiment, test and compete with their work.

Does Sound Have Meaning?

Sound Researchers and Practitioners Convene to Discuss 'symbolic sounds' at #KISS10

Can music and sound-effects be symbolic?

Sound designers, composers, sound artists, film makers, researchers and others sharing an intense interest in sound will be convening in Vienna (Austria) from the 24th through 26th of September to discuss this and other, similarly controversial, issues at the annual Kyma International Sound Symposium (#KISS10).

Lively discussions, electronic/computer music performances, interactive installations, demos, workshops, and paper sessions will be held in the newly renovated Casino Baumgarten, a spectacular ballroom built in 1890, and the Rhiz Bar Modern, a showcase for experimental media in Vienna.

[view from the Stage at Casino Baumgarten]

Join in the free on-line discussion

Anyone having an intense interest in sound is invited to join in the free on-line discussion at pphilosophyofsound.ning.com. Sign in and introduce yourself by sharing your earliest sonic memory. Discussions on sound, symbol, and meaning have already begun and will continue during and after the symposium. You can participate on line whether or not you are able to attend the symposium in Vienna.

To register for #KISS10:

The registration deadline for participating in #KISS10 is 13 September 2010. The participation fee of € 90 (€ 40 for students) includes the 3-day symposium, morning/afternoon refreshments, and 2 evening concerts.

Background

The Kyma International Sound Symposium (KISS) is an annual conclave of current and potential Kyma practitioners who come together to learn, to share, to meet, to discuss, and to enjoy a lively exchange of ideas, sounds, and music! Kyma is a sound design environment created by Symbolic Sound Corporation. This year, the KISS symposium is being organized by Wiener Klangwerkstatt in cooperation with Symbolic Sound and with the support of Analog Audio Association Austria, Preiser Records, and the Austrian Federal Ministry of Science and Research.

[Focus on Kyma International Sound Symposium - KISS09]

Conference Contact Information:
Barbara Kopf
KISS 2010 Conference office
Email: office.KISS2010@tonsalon.at
Telephone: +43 (0)650 212 1646
[tonsalon.at/KISS2010]

Audioscan: the alchemy of noise transmuted into music

audioscan is an artistic project conceived by Giorgio Sancristoforo, produced by AGON in collaboration with basemental. The project consists of a multimedia interactive installation and of a live performance combining music and video. Both are based on the sound mapping of Milan.

At the basis of audioscan there are 1.580 recordings and phonometric surveys gathered within the perimeter contained in the main ring road of Milan.
A process of meeting and exchange between contemporary art, music and environmental themes, a meditation on soundscape and the auditive dimension of human experience, both on an aesthetic and a social perspective.

An ambitious cataloguing work and an environmental awakening project through the transformation of a waste product of technological society – noise – into an artwork.

" [...] Essentially, noise is an ambiguous entity, setting up in a fluctuating reality, whose definition changes according to the coordinate system used to measure it.

Sounds can be sculpted. We can use noise as raw material to start with. Noise is at the same time “no sound” and all the possible sounds. Just as white light contains all the colours, noise contains countless sounds.

Therefore, instead of using musical instruments we have ground and crumbled noise in very fine components, building from these elements orchestras made up of roads and airplanes, people and cars. We have created music from a scrap of our society.

Everything is transformed. Nothing resembles anymore its former essence. Airplanes become microscopic percussions, cars are turned into metallic pianos and rubbery basses, hollow murmurs and waterish illusions.

Braking and tailpipes screeches become tides of the thinnest strings.

We have animated a deep transformation, resembling closely the alchemic processes: actually, we have performed the alchemy of noise transmuted into music.

The city, unaware of the transformations undergone, perpetuates its rhythms and mood intact. This is why those sounds, even if unrecognizable, still describe Milan, with its chaotic passages and deep breaths, with its syncopated rhythms and the feeling, peculiar to an ocean, of being constantly wound by countless mutations."

Audioscan (#1) MILANO - FULL by Giorgio Sancristoforo

"I listen to the music of Audioscan again, and I realize how much it’s melancholic.

Milan is melancholic. Not sad. A gloom which could belong to Calvino works, a blues pervading the streets, in the morning, creeping like a cat between porches and boulevards, between old mansions and post-war eyesores. The same melancholy that smoothes the cold when I stroll around, ravished by the decadence of Civic Aquarium or sitting on the lawns of San Lorenzo Basilica, while besides me the city keeps darting in sound tidal waves." - Giorgio Sancristoforo

[audioscan.it]

Focus on Kyma International Sound Symposium - KISS09

These have been busy days here at NIU, especially for the speakers who showed to all the symposiast each method of working with Kyma.
A lot of participants came from different sides of the world, it was great to be immersed in this colourful community! Carla Scaletti and Kurt Hebel (the creators of Kyma) introduced their new hardware Paca(rana) - you can find a lot of information here @ SSC - and the latest features implemented in Kyma X.70 (where 'X' stands for the last letter in 'six' - 6.70).

Carla and Kurt did a wonderful job to develop a state-of-the-art "recombinant" workstation, which gives any user the freedom to explore unknown sonic territories without hitting the DSPs (there's plenty of headroom in processing power).
During the morning of the first day, Carla showed us how to control Kyma with external devices like the Wacom Tablet and the Continuum Fingerboard, then with Nintendo Wiimote+Nunchuck and SpaceNavigator (via OSCulator by Camille Troillard).
The AC Toolbox presentation by Hector Bravo-Benard, revealed to us an algorithmic approach to sound composition with Kyma. By using the LISP language, it is possible to structure an entire composition and have Kyma play it. It is possible to make use of strict algorithmic procedures like probability distributions, Markov chains, tendency masks, and many other techniques used by composers of the likes of Paul Berg, Gottfried Michael Koenig.
A special mention should be made for Bruno Liberda's lecture, where he explores subtle connections between his wonderful graphical scores and different kinds of ancient neumatic notation, making symbolic notation and symbolic sound computation converge.
Cristian Vogel explained his latest creation called Black Swan for swiss choreographer Gilles Jobin. The 50 minutes original Kyma score was composed in Geneva and at the electroacoustic studio of the Musique Inventives d'Annecy. Here's a Swiss TV documentary about the creation of Black Swan.

What is Kyma?

Kyma is a sound design language that permits to manipulate, transform and warp any kind of sound source in realtime, but we already know all of this.
During these days in Barcelona - at the first Kyma International Sound Symposium - we have learnt something more specific and, maybe, unexpected.
As Carla Scaletti said during the opening lecture of KISS09, "Recombinance Makes Us Human". So, what does this mean? Actually each of the participants brought their own experience, point of view, modus operandi and creative talent to the symposium. This multiform epiphany allowed everyone involved to share the same time and space for 2 days, exchanging their ideas like sharing bits of code in a recombinant manner.
The symposiasts all came from different fields where Kyma plays a fundamental role in each of their activities (sound designers, composers, DJs, etc.). Each of them knows and likes different specific aspects of Kyma.

The lectures performed during these 2 days taught us something: regardless of their own personal skills, and of their own degree of Kyma knowledge, observing things from other users' point of view reveals unexpected surprises and creates new connections, on a mental and operational level, which were never considered before.
Even sounds commonly used in our everyday activity, if put in a different context (artistically or technologically), appear to us as new and unexpected, bringing back to our memory John Cage's famous concept: "(You have) to look at a Coca-Cola bottle without the feeling that you've ever seen one before, as though you were looking at it for the very first time. That's what I'd like to find with sounds -- to play them and hear them as if you've never heard them before."

The musical performances have contributed themselves to recombine new pieces of code, bearing different morphologies, sintax and structures.
With her liveset "SlipStick for Continuum and Kyma", Carla Scaletti explores the sound phase-space, in order to find new timber paths moving from materic aggregation to resonant chimes and back, without forgoing a "virtuoso gestuality" given by the nature of the instrument itself.
We have experienced the possibility of creating vibrating soundtracks for silent movies in real time, thanks to the contribution of Franz Danksagmüller's work, with the help of Berit Barfred Jensen's voice.
Concrete sounds produced by the friction of a Cello bow on different-shaped polystyrene objects, saturate the listening space thanks to the work of Hector Bravo-Benard, reminding us of some textures of Xenakis' work "La legende d'Eer".
Marin Vrbica's "Tiger in the Jungle" immerses us into an exotic and rich spatial dimension made of revolving sound-surfaces and sliding glissando-like multiple trajectories.

In the end, we are surprised that the paradigma presented in the beginning by Carla Scaletti (Recombinance Makes Us Human), has actually acted as an invisible force guiding, transforming, rearranging our thoughts, knowledge and purposes.
So, after the symposium we observe ourselves in a different way. We have changed into new intellectual human beings, and this gave everyone of us a fresh new start, in order to discover new possible configurations and interactions between ourselves and the others, between what we are and what we will be until #KISS10.

We really enjoyed our first attempt to follow a live event via Twitter, we hope you appreciated our efforts to make you feel like you were in Barcellona with us, as part of the symposium.
You can track all of our tweets via search.twitter.com.

Here's a selection of related tweets of interests:

• Now live #KISS09: Carla Scaletti - "Recombinance Makes Us Human" - Philosophy of Kyma #
• a Question: Infinity makes us HUMANS? #
• Infinity+ self-awareness of finitude #
• Open-ended possibilities= open-ended amount of time, but the learning is fun! #
• Kyma sounds are recombinant...like us..! #
• Pen Morph Gandalf to Saruman "You are tracking the footsteps of two young Hobbits" #
• Writing in time and space..... #
• I became operational ath the C.E.R.L. lab in Urbana, Illinois on the 12th of November, 1986. -- Kyma #
• Kyma was inspired by three ideas: cutting & splicing audio tape, voltage control, symbolic logic & computer programming #
• An interview with Carla Scaletti @symbolicsound usoproject.com/C... #
• and now...linear interpolation of presets - smooth transition in the phase space... #
• music is something like a side effect of explorating timbre and sound configurations... #
• Presets as aural Keyframes #
• ...the problem of finding graphic symbols for the transposition of the composer's thought into sound." Edgard Varèse #
• ...without friction [...] there would be no music!"- Carla Scaletti #
  

For anyone interested in the Kyma sound design language, the book "Kyma X Revealed" is available here @ SSC. This document gives you an overview of the environment, gives you a strategy for approaching this deep system one layer at a time and then walks you step-by-step through each level of Kyma like your own personal tour guide. At the back of this guide, you’ll find several summaries and quick references that you can keep handy for refreshing your memory while working. This book covers the mechanics of how to use Kyma — not the art and science of sound design. However, if you love sound and are hungry for more knowledge on the subject, achieving fluency with Kyma is an excellent first step!

A great thanks to Cristian Vogel (Station 55 Productions) and Symbolic Sound Corporation for their greeting and organization.

UPDATE: Slides from Recombinance Makes Us Human (.pdf), the welcoming address for the First International Kyma Symposium in Barcelona, October 2009.

No Input

[Sachiko M & Toshimaru Nakamura]

JoAnn Kuchera-Morin: Tour the AlloSphere

JoAnn Kuchera-Morin demos the AlloSphere, a new way to see, hear and interpret scientific data. Dive into the brain, feel electron spin, hear the music of the elements ... and detect previously unseen patterns that could lead to new discoveries.

Composer JoAnn Kuchera-Morin works on the Allosphere, one of the largest scientific and artistic instruments in the world. Based at UCSB, the Allosphere and its 3D immersive theater maps complex data in time and space. Kuchera-Morin founded the Center for Research in Electronic Art Technology (CREATE) and has been the director since its birth in 1986. In 2000 she began work on a Digital Media Center within the California NanoSystems Institute at Santa Barbara. Her fascinations include gestural interfaces for performance and the expression of complex data in nontraditional forms.

[Mapping terrain in space and time: Exclusive interview with JoAnn Kuchera-Morin of the AlloSphere]

[allosphere.ucsb.edu]

The Klangdom (Sound dome) in the ZKM_Cube

Hightech instrument for spatialization at the ZKM | Institute for Music und Acoustics.

ZKM "Cube" (photo by Marc Wathieu)

The Klangdom was finished in 2006 after three years of conception, planning and installation. Forty-three Meyersound speakers are attached to an elliptical rig system three-dimensionally in the room, four additional ones are placed on the ground. With this unique speaker instrument, as the head of the institute Ludger Brümmer explains, "complex polyphonic space-sound-movements can be displayed realistically and perceived from every spot in the room".

It can be controlled via Open Sound Control protocol or can also be used as Audio Unit plug-in. Thus, the user can incorporate Zirkonium's panning capabilities into his preferred environment (including Digital Performer, Logic).

User interface of the control software Zirkonium, studio window

[more via zkm.de/zirkonium]
[Zirkonium Manual -PDF]
[Zirkonium - Installer]
[Zirkonium - Max/MSP and SuperCollider Examples]

The winners of the Giga-Hertz Award

The Giga-Hertz Award (given by the ZKM | Centre for Art and Media Karlsruhe and the EXPERIMENTALSTUDIO des SWR Freiburg) addresses composers working in the areas of electronic and acousmatic music. A Grand Prize and four Special Prizes are awarded once a year by an international jury.
The Grand Prize honors the artistic and life’s work of renowned composers of electronic and acousmatic music.
This year the Grand Price of € 15.000 goes to the british composer Trevor Wishart. The four Special Prices, each worth € 8.000 go to Natasha Barrett (born in Britain), Dai Fujikura (born in Japan), the Portuguese João Pedro Paiva de Oliveira and to Åke Parmerud from Sweden.

Members of the jury 2008 are Ludger Brümmer, Detlef Heusinger, François Bayle, pioneer of electroacoustic and acousmatic music who developed the famous Acousmonium, Jonathan Harvey, Armin Köhler and Peter Weibel.
They said: "Particularly with his developments in the area of the software synthesis, he made complex sound processing understandable and applicable. Trevor Wishart designed in 1986, together with other composers, the Composers Desktop Project for Atari and Unix computers. Is to be emphasized also his work in the musical education and the formulation of its aesthetic and technical approaches in educationally oriented writings such as 'Audible design' and 'On Sonic Art'. [...] His music is enormously effective and has influenced generations of composers. "

The award ceremony will be held at the ZKM | Karlsruhe on November 29th, 2008 (starting at 7.00pm), in line with two Award-Winner-Concerts on November 28th and November 29th (8.30pm).

[via giga-hertz.de]

Live!iXem 2008

Festival of experimental electronic music and arts

18>22 November 2008 - Palermo, Italy

V Edition

18 nov. 21.30 – Goethe Institut – Via Paolo Gili 4
Antony Pateras (pianoforte preparato), Sean Baxter (percussioni) e David Brown (chitarra elettrica preparata).

19 nov. 21.30 – Malausséne – Piazzetta Resuttano 4
AMP2 + SECRET GUESTS Live performances

20 nov. 19.30 > 24.00 – Left – Via degli Schioppettieri 8
AV screenings by Torregrossa

21 nov. 21.30 – ASK 191 – Viale Strasburgo 191
SonoRoom Live sets: Marco Pianges, Dario Sanfilippo, Samuele Calabrò, Gandolfo Pagano.
DanceFlor DJ sets: Ajno [minimal <+/-> techno | dubstep] and More!

22 nov. 21.30 – ASK 191 – Viale Strasburgo 191
SonoRoom Live sets: Nino Secchia e Dario Sanfilippo, Talachtis, Mathias Manceck+Raffaella Piccolo, Il cielo di Baghdad.
DanceFloor DJ sets: D.M.D. Death Modern Dance, Claudio Bonanno e Gianluca Scuderi, Ajno.

[ixem.it]

Francisco Lopez at Ear to the Earth 2008

October 10, 2008

ARTS ELECTRIC
http://www.arts-electric.org

Arts Electric is a program of Electronic Music Foundation

Francisco López

Buildings [New York]

This evening, October 10, 8pm
Judson Church
55 Washington Square South

$15 general admission / $10 students, seniors, and EMF Subscribers

Purchase a festival pass
$55 festival pass / $45 students, seniors, and EMF Subscribers
http://www.emfproductions.org/upcoming/overview.html

Francisco López writes: "All cities have soundmarks, prototypical sounds that sort of identify the city (although mostly only for its inhabitants). These, however, are scant and somewhat occult and exceptional manifestations amidst an ocean of road traffic and street sounds that are considerably homogeneous between different cities in the world. To me, the most interesting sounds and sound environments in cities are found indoors, not outdoors. That's why 'Buildings [New York]' is based exclusively on indoor recordings of buildings in the city."

More about the composition (and a sample):

http://www.arts-electric.org/

More about the concert:

http://www.emfproductions.org/upcoming/lopez.html

Details about Ear to the Earth 2008

http://www.emfproductions.org/upcoming/overview.html

InharmoniCity review by Vital Weekly

Vital Weekly is published by Frans de Waard and submitted for free to anybody with an e-mail address (form).

tracklist for Vital Weekly 644:

0000 Tune
0014 Tujiko Noriko & Lawrence English & John Chantler - Make Me Your Private Party
0340 General Fuzz - Starry
0730 Keijo - Ain't Got No Home
1025 Mika Martini & Oscar Chaves - Revolver Cenizas
1328 Anders Dahl - Doorbell, Tuning Fork, Crotale, Clarinet etc.
1630 Concrete cookie & The Maggot Farmer - Tropic Of Cancer
1927 C. Hilton - The Smoking Mirror 1
2233 Cynas
2610 U.S.O. Project - Girl Running
2916 Mubles - Beercan Suite
3214 Tune

listen to 644

Read the current issue here

[the complete archive of Vital Weekly including search possibilities:
http://www.vitalweekly.net]

Synesthesia Recordings

Dear readers and friends, we (Matteo and Federico) are happy to announce the birth of our brand new label 'Synesthesia Recordings'. This label is to be intended as a repository of live improvised electroacoustic works.

The main goal is to retrieve the late Renaissance praxis of “Ricercare” intended as exploration of a technical device playing it, subverting it in different ways. So this kind of “Musica Ricercata” should be affected by individual approaches to improvisation with sound materials of any kind, samples, electronic devices, pure sine generators, transducers. The local and momentary gesture generates a relational sequenced processes that defines the sonic path from start to the end. This recordings have to be intended as a “document” or Simulacra of a solo or collective performance but not as the performance itself (which is affected by causality relationships and other environmental and statistical phenomena).

After a huge amount of work, a new project called 'InharmoniCity' is ready and is available for download via Music Zeit, our official distributor for digital releases. Limited edition hard copies will be available in few days from now via CDeMUSIC.
The next step will be a dvd-video release of the same album, co-produced with Zerofeedback video-label by our friend visual artist Selfish. You can find the press releases here (cd) and here (dvd).

Teaser from the forthcoming dvd release 'InharmoniCity':


Girl Running - U.S.O. from selfish on Vimeo.

TRACKLIST:

1) Girl Running (08.48)
2) Invisible Words (12.20)
3) ...from the Past...out of the Future... (40.36)

InharmoniCity is packaged in a 2-panel wallet with artwork by LA-based artist David Trulli [www.davidtrulli.com]

Distributors:

www.downloadplatform.com/synesthesia_recordings

www.cdemusic.org

Best played at high volume in the dark.

Phadora for the opening of Ars Electronica 2008

U.S.O.'s friend Domenico Sciajno will perform a new piece called Phadora for the opening of the Ars Electronica 2008.

Phadora is an electroacoustic piece designed for a very special 4+4 speaker setup at the open air and it has been specifically composed for this occasion.

SoUNdSET, the work of Italian artists Domenico Sciajno and TeZ (aka Maurizio Martinucci), is a sound performance that was conceived especially for this location: the Pöstlingberg terrace, the perfect spot for panoramic cityscape viewing. This piece works with the natural sunset and features audience interaction. As the sun begins to go down (at 7:38 PM on September 4, 2008), visitors can take a seat on the viewing terrace, focus their attention on the diminishing natural sunlight and simultaneously influence via directional loudspeakers the live soundscape being generated in relation to it. As the natural light increasingly gives way to the darkness of night, the more these acoustic experiences are transformed.

The complete schedule of the opening for the Ars Electronica 2008 Festival is available here.

[myspace.com/sciajno]
[sciajno.net]

Bowed Piano

[thanks to MG]

Floating Points 2008 - ISSUE Project Room

This Festival, in its third year, explores the versatility of ISSUE Project Room's innovative house speaker system, designed by Stephan Moore.
In the hands of these diverse performers and sound artist, this fifteen-channel installation of hemisphere loudspeakers radically changes the concert experience for both performer and audience.

Each of the hemispheres radiates sound in all directions, activating the acoustics of this unique concert space. Immersive sonic environments are generated, electronic sounds take on the characteristic intimacy of acoustic instruments, and location is liberated as a musical dimension.


Wednesday, June 18
Sawako Kato will premiere new compositions for the Issue Project Room. Sawako weaves the intimate sound scape with fragments from her recent trips + sine tone + subtle voice.

Tristan Perch will show his new work with 5 voices and 15-channel 1-bit electronics + a short piece for 3 violins.

Saturday, June 14

Phil Niblock

Saturday, June 28

Francisco López

All performances 8:00pm, $15

For more information:
718-330-0313
info@issueprojectroom.org

ISSUE Project Room
232 Third Street, 3rd Floor, Brooklyn
at the Old American Can Factory

[issueprojectroom.org]